The publication Dix huit basses danses, printed in 1530 by Pierre Attaingnant, is one of the most significant landmarks in the history of music publishing and instrumental repertoire. It represents the first time music for the lute was printed using the revolutionary “single-impression” method in France.
🖨️ The Publisher: Pierre Attaingnant
Pierre Attaingnant was a visionary Parisian printer who transformed the music industry.
- The Royal Privilege: In 1528, King Francis I granted him a monopoly on music printing in Paris.
- Technological Innovation: He popularized the single-impression method, where a single piece of movable type contained both the musical note (or tablature letter) and the staff lines. This made printing faster and significantly cheaper than previous methods.
- Cultural Hub: His shop was located near the University of Paris, making his publications accessible to students, professionals, and the rising middle class.
📜 Content: Dix huit basses danses
The full title of the collection is Dix huit basses danses garnies de Recoupes et Tordions, le tout mis en tablature de luth… (Eighteen bass dances provided with “Recoupes” and “Tordions,” all set in lute tablature…).
- The Repertoire: As the title suggests, the core of the book consists of 18 Basses Danses. These were the most popular courtly dances of the early 16th century, known for their slow, stately character.
- Dance Suites: The pieces are organized into early “suites.” A Basses Danse is typically followed by a Recoupe (a faster after-dance) and a Tordion (a lively, triple-meter dance).
- Beyond Dances: In addition to the dance movements, the volume contains:
- 9 Branles: Cheerful, circular folk dances.
- 2 Pavanes and 3 Galliards: Early examples of these soon-to-be-dominant forms.
- Vocal Intabulations: Instrumental arrangements of popular chansons (songs) of the period.
⚙️ Musical and Technical Significance
This 1530 collection is a primary source for understanding the Renaissance Lute.
- French Tablature: The book uses French lute tablature, where letters (a, b, c…) represent frets on a six-course lute.
- Arrangement Style: The music is attributed to anonymous arrangers, though it likely reflects the repertoire played at the French royal court. It shows a move away from strict vocal polyphony toward a more idiomatic instrumental style with scales and ornaments.
- Historical First: It remains the earliest known printed source of French lute music, predating the works of later masters like Adrian Le Roy or Albert de Rippe.
🏛️ Modern Legacy
Only a few original copies of Attaingnant’s 1530 lute books have survived, most notably in the Bayerische Staatsbibliothek in Munich.
- Reference for Performers: Today, it is an essential resource for early music ensembles and lutenists seeking to reconstruct the sounds of the court of Francis I.
- A New Era: This publication marked the beginning of a massive output from Attaingnant’s press, which eventually published over 150 volumes of music, cementing the lute’s status as the most popular domestic instrument of the Renaissance.